Academy Presents Forum on Teen Viewing Study

By Libby Slate

No segment of the population is more immersed in media old and new – broadcast, cable and digital television, films, the Internet – than today’s adolescents. Television’s particularly pervasive influence on young viewers’ attitudes and behavior was the inspiration for a recently completed research study focusing on several elements: the thought processes of those who create teen television, the effects those creations have on adolescent development and the synergy between television programs and associated web sites that attract teens.

Journalist David Wild, a Rolling Stone contributing editor and author of the book The Showrunners, conducted in-depth interviews in 2001 and 2002 with forty-five top television producers, writers and executives. Meanwhile, academic researchers analyzed thirteen scripted broadcast series popular among teens, including 7th Heaven, Bernie Mac, Boston Public, CSI, ER, Friends, Gilmore Girls, Smallville and The Simpsons.

On June 24, the Academy hosted a forum to offer industry members key results of the study, which was entitled "Prime Time Teens: Perspectives on the New Youth-Media Environment." The program was presented by Mediascope, the nonprofit research and education social-issue-oriented organization that received the study grant funding and supervised the project. Mediascope president/Academy member Donna Mitroff, Ph.D. moderated.

Panelists included David Wild, researchers-professors Donald Roberts, Ph.D. of Stanford University and Peter Christenson, Ph.D. of Lewis & Clark College and Jeffrey Strange, Ph.D. of Public Insight, a research and communications consultancy. Representing the television industry were Alias executive producer Jeff Melvoin, brothers and 7th Heaven writer-producers Chris and Jeff Olsen and Nashville Star executive producer/former The Real World producer George Verschoor.

Two themes emerged in the study, Roberts noted. "Adolescents are searching for their identity, who they are in the world," he said. "And today’s adolescents are very smart. They have so much access to information. [Interviewee] Joel Gallen [MTV Movie Awards, Pepsi Smash] says he designs his shows with that in mind. But the knowledge is not cultural. It’s street smarts."

Most interviewees believe adolescents look to television as a teacher, to provide information on behavior, morals and ethics. The viewers also search out programming which mirrors their lives, such as Lizzie McGuire. And they engage in "aspirational viewing:" watching characters two or three years older to see how they should act.

Almost all the interviewees feel that TV bears a responsibility to its younger viewers, Roberts added, and are divided into two camps. The "decorum theory," supported primarily by network executives, holds that television is a guest in the home and must provide a comfort level. The "forum theory," voiced by the creators, maintains that, as Gilmore Girls’ Amy Sherman-Palladino said, her responsibility is "making sure it’s true and then putting it out for teens to decide."

As for the programs studied, Christenson pointed out that not all shows popular with the adolescent audience had teens in the cast, but that there were numerous adults in teen shows. "Teens aren’t attracted only to shows that are just all about them," he said. There were many references to sex, but few onscreen portrayals. And unlike their real-life counterparts, Strange added, few teenage characters went out for sports or had mentors, and few considered careers other than as athletes, doctors or lawyers. "There can and should be a relationship between these [areas] and the shows," he said.

Asked for the industry panelists’ reaction to the findings, Melvoin responded, "The needs and purposes of an academic study are different than what we do. The agenda is completely different. Our job is to entertain. It’s always tough to incorporate an overt message; very few dramas and comedies of any value do that."

Jeff Olsen concurred, while Chris Olsen added, "We don’t usually have as much time to consider all this information in putting the show together."

The same themes hold true in reality shows as in scripted ones, offered Verschoor. "The dialogue we have with network executives is not about the messages we’re sending out about sex, and AIDS; it’s mostly about getting an audience rating. We want to put out a good show we’re proud of, but we have to get viewers."

All the industry panelists try to create characters the audience can identify with. And, said Jeff Olsen, "We’ve all been teenagers. The core issues are still the same. So we give them stories they can relate to."

The bottom line for the TV-makers? "Our job remains what it’s always been," Melvoin said. "To do the best job we can do."